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How Does Travel Improve My Writing?

by admin

If you are reading this blog, chances are you are considering a study abroad program to improve your writing. But why? What are the benefits of study abroad programs? What does travel offer that is essential to the development of healthy writing life? Whether you’re a fiction writer or a poet, travel has the power improve your craft while providing inspiration that might be lacking in your day-to-day experiences.

Breaking Bad Habits

Some writers say they rely on ritual for inspiration. “I have to write at this desk.” “I can only write at night,” or “I have to write in the morning.” In other words, I must obey my muse and these are the terms of our agreement. The problem with rituals is they don’t require the writer to discover anything new about themselves. A ritual might lead to useful, reflective moments, but often writers find themselves unable to explore new ideas or concepts if rituals provide too much comfort. When you travel, you reduce your ability to cling to the comfort of ritual. You don’t have the same old desk, the same old chair—you don’t even have the same old you, as constructed by the perspectives of those you encounter most. Travel abroad provides writers with unique opportunities to investigate new cultures, reexamine their comfort zones, and thoughtfully engage in new social situations that call for an awareness of language and communication that helps redefine our positions as global citizens. The result?

Challenge, Creativity, and Intimacy

Something beautiful happens when we travel. Our imaginations take over; our creativity gets a jolt that seems to keep the writing coming. When we encounter new sensory experiences, we increase our chances of heightened creative productivity. Here are a few tips to make sure you are getting the most out of your time abroad:

  • Pay close attention to what you taste, touch, see, smell, and hear. You must truly fall in love with the details.
  • Talk to new people. The more friendships you develop, the better!
  • Enjoy the local cuisine. If you haven’t heard of it, try it.
  • Get off the beaten path. Explore the roads less traveled. If you have made friends with members of the local community, ask them for recommendations (or to come along).

No matter where your travels take you, your writing life is sure to follow.

“AWP and Me: A Meditation” by Richard Katrovas

by admin
The following essay is from a book the PSP program director Richard Katrovas is working on: Chained to a Tree: A Memoir in Essays about Poets and the Fools Who Love Them. About the essay he says: “The project is still fluid; that is, I’m still fiddling, fixing, still moving words, phrases, paragraphs around. My concern in the book is not so much American Poetry as American poets, people I’ve known through the years, some famous (in a poetry kind of way), some not. My larger concern is creative writing as a cottage industry within high education, though my deeper concern is the mysterious world of poets and writers, how they constitute an often ignoble tribe pursuing noble, if quixotic, ends. I’m discovering, in the twilight of my odd life and modest career, that the run of luck that has gotten me to this point has been nothing short of miraculous, and my consequent blessings manifold.” We share this recently-written piece in the spirit of the Prague Summer Program as an organization centered on the honesty and vulnerability of sharing work in progress.

AWP and Me: A Meditation

by Richard Katrovas

Groucho Marx’s famous, if most likely appropriated, one liner about club membership speaks to the part of me that fancies itself a writer. For example, I am a member of the Academy of American Poets and the Associated Writing Programs, and feel deep disdain for both organizations precisely because they stoop to have the likes of me as a member. Why do I pay dues? Why do I participate? Because not to would be to deny myself the healthiest, least painful opportunity for self-loathing, a condition I find necessary to maintaining my bona fides as a writer. If hell is other people, for me those folks are other writers, but only when we are bound together in any official capacity. There can be no such thing as an official poet, an official artist of any kind, and sanctioning organizations in the arts, be they academic or in any way government affiliated, even tangentially, are the bane of whatever temperate zone of the human spirit where Truth and Beauty cohabit in conjugal bliss. Shelley’s unacknowledged legislators are, more to the point, unofficial, and that quality is an existential value whose denial is a flagstone on the path to bad faith. However, though the human heart may be tainted by tax-exempt status, there are no pure motives in Heaven or on Earth, and no blossom should be shunned just because its roots are in shit. Far superior writers, far more courageous people than I have submitted their papers for official stamps of approval.

Arnošt Lustig survived the Holocaust because he was young, strong, lucky, and could perform manual labor exceedingly well. The last train he was forced upon was from Buchenwald—following his stint in Auschwitz—to Dachau where he was destined to perish from asphyxiation in a gas chamber; however, his doom was forestalled when an Allied plane bombed the engine. The bomber had probably mistaken the train for a troop transport. Arnošt and a friend escaped into the woods even as the others, the story goes, were machine gunned. Both boys made it back to Prague and joined the resistance.

This anecdote was the seed of Arnošt Lustig’s novel the English-language title for which was Darkness Casts No Shadow. In the novel, the boys are killed before they reach Prague. I once asked Arnošt, now dead for several years, why the boys in the novel die when in fact he and his friend lived. “Because they had to,” was all he answered.

Most of the German words I recognize I learned watching Hogan’s Heroes and movies about World War Two, but I know that “lustig” means “joy” and that no Czech misses the irony in the fact that one of its great Twentieth Century writers (and that such a small nation indeed produced several world-class writers is remarkable) wrote exclusively, for more than sixty years, about the Holocaust and happened to be one of the most joyful people on earth.

I’ve many stories about Arnošt Lustig because I was his boss, for nearly twenty years, for four weeks each summer, but to define the relation thus is misleading because Arnošt Lustig laughed off all authority and did pretty much what he wanted, which always far exceeded my expectations as the director of a study-abroad program for aspiring writers. On those rare occasions when I felt obliged to insist that he be here or there at a certain time, or suggest that he alter this or that aspect of how he taught his class, Arnošt would smile and change the subject or just ignore me. How does one “direct” a person who has occupied, not a metaphorical, but an earthly hell? How does one exert any kind of authority, no matter how well meaning and professionally administered, upon a Holocaust survivor?

There are many questions I wish I’d asked Arnošt. For example, I wish I’d asked him at what age he decided to become a writer. When he was in Auschwitz did he know that he wanted to become a writer? Well, there was no “becoming” in Auschwitz, but did he dream of a life after, and in that life was he a writer? Was such dreaming possible in Auschwitz?

From what I’ve read, and what I know about the heart, a boy could dream of a life after Auschwitz and Buchenwald, but at what point did the capacity to dream, to fantasize a life after all of that cease to be possible?  Did teenaged Arnošt fantasize a life after the camps even as he boarded that last train? Was the Allied bomber a dream come true?

One of the stories that Arnošt told often was of arriving at Auschwitz, after an extended period in the Nazi “show camp” Terezin, and being told to strip with the other prisoners, all older men. It was winter, and when the guards left that group of prisoners, of Jews, standing naked in the freezing air, the older men gathered tightly around the boy to keep themselves warm, but with the skinny boy at their center. Many of them no doubt had, or had had, children. That was what they could do, as fathers, in the moment.

Arnošt joined the Party, was a member of the Czechoslovak Writers’ Union, as were Milan Kundera and Ludvik Vaculik, indeed, as were most of the country’s writers. Publication depended upon one’s being a member. In the midst of the Prague Spring he became one of the strongest, most vocal critics of the Communist regime at the 1967 4th Writers Conference and gave up his membership in the Communist Party following the 1967 Middle East War. Soon after the Soviet invasion of his country in 1968, he bounced from Yugoslavia to Israel and finally to the U.S., where, after a year at the vaunted Iowa International Writers Workshop, he took a teaching gig at American University in D.C.; he taught there until his retirement in 2003, after which he once again became a more or less permanent resident of Prague.

I didn’t comprehend Arnošt’s stature within Czech society until one day in the early 2000’s I happened upon my second daughter, Annie, sitting before the TV but not paying much attention to the kids’ show that was in progress. Two hand puppets were chatting with a handsome, smiling white-haired old guy. “Annie, look, it’s Arnošt!” I said. She looked up from fabric she was destroying with round-edged scissors. “Oh, yeah. They’re talking about fairies,” she informed her father whom she knew could not fully follow even the baby Czech that Arnošt was exchanging with the puppets.

I often wonder what I would have done: 1. joined the government-sanctioned and therefore government-controlled Writers’ Union, 2. become an unabashed dissident, or 3. fled. There was certainly no dishonor in numbers two or three, particularly number two, but the first option was more problematic than is immediately obvious; some party-members, writers and not, indeed tried to work within the system to change it; Dubcek’s “socialism with a human face” was the motto for such efforts that resulted, penultimately, in the Prague Spring, though ultimately in the Soviet invasion.

I can’t recall with much clarity the first time I attended the annual Associated Writing Programs conference. I’m fairly certain it was in the mid-Eighties and must have been a year when the convention was in New Orleans where I lived and worked at the local state university; I doubt I would have bothered back then to travel to another city to attend it. All that I can recall with certainty, without doing a little digging which I refuse to do, is that it was much, much smaller than it is now.

God Bless America for innumerable features of our pluralistic society, our dynamic culture, our vibrant if at times goofy democratic processes. God bless this country for the mechanisms by which it more often than not nurtures its better angels. God bless its idealism and especially its innovative spirit. I give this blessing with only a smidgen of irony, only a tad. I am thankful for my good life, my incredible New-Age, neo-hippie spouse, my Czech-American daughters, and a job I love more the longer I do it, a job that would have been unimaginable, say, the year I was born, 1953, only eight years after the end of the Second World War, and as armed conflict on the Korean peninsula ceased. Universities and colleges were still being fueled by the GI Bill, and television was experiencing its Golden Age, though I’ve never fully understood that characterization. It was the beginning of the Age of Mutually Assured Destruction, a characterization I do understand and which shaped the consciousness of a generation in ways that we’re probably only now beginning to comprehend. Creative Writing is but one of innumerable manifestations of nuclear dread, being a creature of counterculture, itself a pink mushroom cloud of hysterical affirmation of life’s essential value.

Repression occurs on an individual psychic level, but also in the body politic and generationally. I recall the Cuban Missile Crisis vividly, and I recall the terror that all sirens invoked. Most vividly, I recall sirens going off in Sasebo, Japan, just days after I’d arrived there, at the end of the summer of 1967, with my new family, two adults and three younger children I didn’t really know, how I lay in the dark on a cot, still jetlagged, and was certain that I would soon be vaporized. I can’t recall if I understood how near I was to Nagasaki, or even knew of the event that had seared the name of that city into modern consciousness. I understood that my stepfather, whom I’d met just three months earlier, was a navel officer whose new billet was as the skipper of a wooden-hulled minesweeper, the USS Phoebe, a tiny ship with which he would trace the treacherous coast of Vietnam. I lay on that cot, my muscles tensed, my eyes tightly squinted, awaiting the flash and heat as the sirens squealed upon the utterly foreign darkness. The next day no one spoke of the sirens, what they may have signaled, and they never again popped on over our three years in Sasebo.

The 1989 fall of the Berlin Wall and all that it represented was perhaps a false dawn. The planet is no safer regarding the reality of Mutually Assured Destruction, and is a hell of a lot less safe in terms of the lockstep-march of Climate Change. And yet I intuit a diminution of terror even as we live now in what may reasonably be called the Age of Terror, a time of guerilla actions, suicide mass murders meant to unhinge the reigning order, however one may conceive it, by a thousand relatively tiny slashes. Life under a smoldering volcano is not conducive to long-term planning; the sense of an ending infuses each day, each moment, with giddy dread. As urgency shades to resignation, threats become as abstract as the sense of an ending propagated by popcorn movies flaunting apocalypse as ephemeral as spring fashion. The apocalyptic imagination, which is to say the capacity of any single mind to conjure an image of the volcano, the fount of doom, even as one averts eyes from it, is drained of alacrity and focus by the bastions of divine distraction, the saccharine puffs of silly hope we know as entertainment, art, religion.

Each year Krista and I attend the AWP convention. We purchase our little table, among many hundreds. We decorate it with Prague stuff, and sit for hours chatting with the same folks who stop by each year to catch up, and with some prospective students, though mostly with folks schmoozing to teach in the program, folks who, because they have to schmooze, are not qualified to teach in the program, bless their hearts. If we are lucky, one or two, maybe three good writers will attend our program after having talked to us about it at the Associated Writing Programs convention. Our participation is not particularly cost effective, but it has become a downbeat in the rhythm of our lives.

I am happy to be irrelevant, if relevancy entails the kinds of decisions that Arnošt and his friends faced regarding the Czechoslovak Writers’ Union, and by extension, the Communist Party. I am a member of AWP, and if I quit it tomorrow the Democratic Party, of which I am also a member, would not likely be notified. Irrelevancy, even more so than ignorance, is bliss. The fact that I can make a living being irrelevant, and training others to be likewise, is a feather in the Yankee-doodle cap of the republic, an albeit lagging indicator of the glory of American Exceptionalism.

During the years that Vaclav Havel was president of Czechoslovakia and then the Czech Republic, Arnošt Lustig lived in an apartment in the Castle those weeks and months he was in Prague. Havel was his buddy, his old friend, and made sure that Arnošt had comfortable digs, free of charge, when in Prague. Havel had been in prison just months before the Velvet Revolution and his subsequent ascension to the presidency, a position that required him to reside in Prague Castle, a space he often seemed to consider simply a more opulent enclosure than the one to which the old regime had assigned him. Though Havel had never been a member of the Communist Party as Arnošt had, he’d been an albeit dyspeptic member of the Writers’ Union up until 1968, the year both he and Lustig, and many other writers, quit that sanctioning organization.

In America, the arts got gobbled up by colleges and universities at about the same time that behind the Iron Curtain the bifurcation of the arts between state-sanctioned and not was occurring. Under totalitarian conditions, such a bifurcation is always a reality, though the Prague Spring painted the distinguishing line darker and created conditions in which joining the dissenting team, the Washington Generals to the Harlem Globetrotters, did not ensure defeat, no matter the final score of any given encounter, considering that everyone knew the game was rigged. Being a high-profile dissident was often a cagy career move rewarded with translation into, and publication in, major languages and hero status in the West. Dissident status reverberated into the West and bounced back as an echo into the totalitarian state. Vaclav Havel and other diehard dissidents were not bulletproof, exactly, but they were at least waterproof; their voices could not be entirely drowned out by the marshal music and party-line rants of the regime. They were profoundly relevant, and that some of them were actually quite good writers was a kind of bonus. None had to submit to the scrutiny of tenure review, though constant surveillance and occasional incarceration were ordeals no less vexing to the creative spirit and, unlike tenure review, had no foreseeable end point. Was “official” status for writers, membership in the Writers’ Union, the moral equivalent of tenure? Were the signatories of Charter 77 staking out a moral high ground equivalent to writers, artists and intellectuals assuming status outside the academy?

The answers are “yes, but…” and “of course not.” The “but” simply acknowledges that, at bottom, it’s an apples/oranges comparison, and the simple fact is that totalitarian conditions render relevant any expression that is even implicitly critical of the reining order. Charter 77, whose two-hundred and forty-two original signers represented the cream of Czech culture, was a merely liberal document touting basic principles many of which even Stalin could have applauded in the abstract. The fact of its existence, not its content, was its oppositional authority.

A pluralistic society may dingdong back and forth between Left and Right extremes that, in broad historical terms, are anything but, which is not to say that it will never dislodge from its pendulum mooring. But as long as the pendulum remains firmly attached to its fixed point of what is variously named, but which we in America know as First Amendment rights, personal expression–the value of which is calculated within a market determined, usually, by the lowest common denominator of puerile, primitive taste, or by a cultural elite that is dubiously so—will be gloriously irrelevant.

The paradox, as I see it, is that the value of art, especially of literature, in a totalitarian system that touts the good of the many, centers on the individual artist, and in a pluralistic system that places a value on individual rights its value is in the aggregate, even cumulative, dare I say collective force of its presence in the midst, and perhaps in spite of, market forces.

When we arrive at whatever mammoth convention space that the lords of AWP have requisitioned, and set up our little table, we take turns walking the rows, scoping out where Wesleyan University Press or Carnegie Mellon University Press are displaying their wears this year. When it is my turn to roam, I pause here and there to say howdy to folks I see only for this one four-day stretch each year; we regulars have watched one another age, mellow. I learn that so-and-so has died or retired or simply said screw it. I marvel at how much time and effort some organizations, presses and writing programs, expend upon looking good at AWP, and, generally, I note how incredibly sincere, earnest, dedicated my fellow conventioneers seem. Everyone is a little bit on the make, as we say, and by Thursday and Friday, when the great halls are buzzing the loudest with literary ambition and a general love of books, of sitting alone and reading, and of stringing words together to compose verse or prose or some hybrid thereof in the hope that a few people will read those language constructs and think well of one for having taken the time to cobble them together, I am humbled.

When it is my turn to cease pushing my little program for a few minutes, Krista plies her considerable charms solo in my absence as I meander through the rows, avoiding eye contact with folks whose books I do not wish to purchase or whose programs have absolutely nothing to do with me, I wonder just how long this odd-duck, beautiful, humane and life-affirming system can continue. Is it a kind of Ponzi scheme? I doubt it, but I don’t know. On a fundamental level, in whatever Grand Scheme one is able to wrap one’s head around, what enterprise isn’t?

In the early 2000s I was once invited to participate in a literary festival in Singapore. They paid for my ticket, put me up in a very nice hotel, and gave me a handsome stipend. They asked me who among the Czech writers I knew they should also invite, and I told them Arnošt Lustig.

I was bowled over by the Singapore Literary Festival infrastructure, if not by the organizational acumen of its proprietors. I was impressed by the press and media coverage, and by how much money had had to go into putting on such an event, especially given that, as far as I could tell, the Festival seemed not to have a revenue stream.

They had invited me not because they were particularly interested in or much impressed by my numerous little books, but because they were intrigued, I think, by the study-abroad program I direct. They clearly wanted to pick my brain, which, given the severity of the jetlag between the American Midwest and southern Asia, was probably rather like picking mosquitos from the air with chopsticks.

Arnošt arrived with a fetching forty-something, a statuesque, strikingly pretty woman who, I seem to recall, was the vice-president of the Czech Goethe Society, or some such thing. She and Arnošt smooched unabashedly, usually sitting in the front rows at readings and presentations, packed on the PDA, as the gossip mags now characterize such behavior, the entire three-day program. Arnošt had somehow talked the organizers into paying for his friend’s ticket, and then proceeded pretty much to ignore all of the festival’s sincere attempts to celebrate and promote Anglophone Asian literature, opting rather to love up, publicly and gloriously, a beautiful, and I was to learn extremely bright and cultured, Goethe-loving fellow Czech.

The organizers of the festival were furious at me for recommending that they invite Arnošt Lustig, until it was his turn to talk about his work, talk about his life, or I should say his life up until he was eighteen, because for sixty years he wrote almost exclusively about that boy whose skinny, naked body had been kept from freezing by the naked bodies of old men, who had known starvation, who had seen more death and misery than any human being should ever witness, and who escaped by the sheerest luck from a death train. One could not be in Arnošt Lustig’s presence and not eventually understand that he had died and been reborn, or that he should have died and simply didn’t, and that he felt every minute of his life since escaping into those woods to be an undeserved blessing, and that to live simultaneously in the hell of his boyhood and the relative comfort of his life after was a radical yet easy decision. Life after was friendships, family, a sense of belonging to something beautiful and good, even if it turned to shit. It was unfettered erotic play and opportunities to act on principles. It was conflicts in which he engaged and conflicts he ignored or laughed off. It was living in the midst of absurdities and calling them such. It was the melancholy he expressed when recounting his enthusiastic embrace of Communism so soon after emerging from the woods, reentering Prague, and joining the resistance.

Once, in the late 90s in Prague, he and I were waiting for colleagues to arrive for dinner. We gossiped a little, joked around. There was a moment of quiet as I checked my watch and he stared out the restaurant window. He sighed and said, as wistfully as I’d ever heard him speak, and apropos of nothing about which we’d been chatting, “They fucked up a beautiful idea for a hundred years.”

I knew what he meant, and that evening as he and I and our colleagues, mostly American poets and novelists and their significant others, dined on hearty Czech fare, and the wine flowed and wit was unleashed and laughter rang out, Vera, Arnošt’s wife, also a survivor, berated him loudly and mercilessly, joking even about his manhood. Arnošt laughed with her and at himself, and when she castigated him for his numerous affairs he continued to laugh sheepishly as the rest of the group roared, for the roasting she gave him was full of love, and he deserved it and took it like a mensch, of course. He was with her when she passed, in Prague, more than a decade later, and he passed very soon after.

Mao Tse-tung, responsible for the deaths of many millions, fancied himself a poet. The Rogue’s Row of other literary artists, from Francois Villon to Richard Savage, is quaint by comparison, but the fact that bad people can make beautiful, at least vaguely interesting, literary stuff is indisputable. However, though I know that poets and writers can be incredibly petty, vain, self-deluded, cowardly and passive-aggressive (especially that) none has registered, thus far, upon my regard as possessing an ugly heart; I’ve met none that I thought enjoyed the physical or emotional pain of others. Even my worst enemies, as loathsome as I may judge them in my little world, have not seemed ugly-hearted, have not seemed the sort who would murder or defile, have not seemed sadistically inhumane, at least not in the sense that drug-cartel henchmen, neo-Nazis, and right-wing politicians usually are.

Creative writers–terrible and brilliant, idiotic and transcendent, famous and anonymous, principled and unscrupulous, visionary and myopic, profound and profoundly mediocre—despite the pending death of literature as we know it and the ascendance of virtual realities and other heretofore unimaginable extensions and augmentations of the imagination, are charmed, special, oddly indispensable, whether organized or not.

Time Management Techniques for Writers

When you are getting ready to practice your craft, you need to know how to set aside adequate time for transitioning into and out of the experience. Whether you are exploring creative writing to enrich your artistic skills, academic writing to help you through school, or professional writing you have to take on as part of your career, all writing processes require this transition time. They also require time for planning, for editing, and for a variety of other tasks.

It might seem simplistic to bring up process writing if you have been creating for some time, but often when writers find their “inspiration” has dried up, what’s actually happened is the time for writing has been abridged, and one or more parts of their process is being cut short. Here are three things you can do to make your time management more effective.

  1. Develop a writing map. Pay attention to all the other things you do between steps while you are writing, and incorporate them into your plans for writing. For some people, that means acknowledging the need to include recreational reading or some time for video games in the mix to provide breaks.
  2. Create milestones. If you limit the time you take on a particular phase of your writing, it often causes you to overlook things you need to cover. At the same time, though, you want clear goals that you can use to prioritize tasks and to make decisions about what can wait for your next session if you are running low on time.
  3. Put deadlines on your calendar, put everything else on a to-do list. That way, you can approach the tasks you need to cover for each writing project as you are ready to do them instead of over-scheduling your time.

If you can use these three tips to help yourself gain control over your writing time, you’ll start to have a better sense of how much time you will need for different projects, and a much better sense of your own progress through them as you go.

The Curt Johnson Prose Award

One of the many things we try to do here at the PSP is to provide our students and our readers with updates about events and contests that might interest them. That’s why we’re posting today about the Curt Johnson Prose Award, sponsored by december magazine. You might know of them as the first publication to print work by Raymond Carver, and they have a rich history of promoting new writing talent in the years since, too.

This year, the judges include Roxanne Gay and Lily King, and the contest will provide a $1,500 top prize for first place with $500 prizes for honorable mention in both fiction and nonfiction. Work may be up to 8,000 words, and the submission period is currently open. The $20 entry fee covers your copy of the awards issue as well.

For more information about this contest, or to send in your short stories, check out the guidelines here.

Planning Extracurricular Activities for Your Study Abroad Trip

by admin

When you budget for a study abroad experience, you get more than just the opportunity to engage with a culture you have never experienced directly. You also gain the opportunity to study literature in its original context, to see the places and feel the historic impact of both the stories and the events they portray. If you are a fiction writer looking for experience abroad that will help you connect more deeply to the places you have lived and the stories that come from them, then you need the experience that comes from knowing the place you will go, not just the course material.

One of the best ways to make sure you have a full experience is to fill your weekends and evening off times with sights and activities that will help to ground you in the location you are visiting. For those of you coming with us to Prague, that means finding time to experience a little bit of everything:

  • Cultural events like opera and other performance arts
  • Historic sites including medieval constructions and famous sites from events of the 20th century
  • Local living and lifestyle in the markets, pubs, and other locations around the city
  • Rural life by visiting the countryside

If you have the proper visa clearance set up in advance, it would even be possible to connect to sites in other European countries. Unfortunately, due to the current diplomatic situation, visa-free travel for Americans has been revoked throughout the European Union.

3 Things to Consider When Choosing a Study Abroad Program

by admin

It’s that time of year again, which means that you are just weeks away from the deadline for applications to most of the best creative writing summer programs out there. If you are considering going abroad this season instead of finding local writing workshops and events, then you might want to consider each of these major points when choosing your program to make sure you get the best experience possible out of your summer abroad.

1. Adjacent Travel

If you are planning on doing any extra travel before or after your program, then it can be a significant financial savings to you if you plan to attend a program that is located relatively near your other destinations. One example of this would be choosing a central European study abroad program to have easy access to other locations on the continent. That way, you can plan a full summer itinerary without having to worry about several long-distance flights.

2. Course Offerings

While location is important, it is nothing compared to having the right course offerings to fit your goals. Every creative writing program is different, and that means you can’t necessarily plan on every poetry workshop being the same. Investigating the writers attached to a summer program and reading their work is one of the best ways to get yourself an idea of the kind of influence they will be on your own, and that will help you understand whether their workshop will be a god fit for you.

3. Scholarship Availability

Going abroad is a huge investment in your future, which is why it is important that you make the choice seriously. There is no such thing as an inexpensive and high-quality summer study program, but there are programs that are fnded well enough to make sure that qualifying students are not turned away because they can not pay. When you find those programs and they also have the right classes in the right location, then you know you have found the right creative writing study abroad program for your summer of traveling.

Why the Future of Employment is Creative

by admin

It’s clear that the last decade has brought about a revolution in the way society is structured that was due in no small part to the advent of widespread, advanced communication technologies. The boom in the STEM industries that led up to it was a clear indicator of the way social resources were going to be invested to yield tremendous returns, and when they paid off, they did so with abundance. This has led to the development of computer technology so sophisticated that it is able to interact with users and to communicate choices they have, adjusting its programming to accommodate.

This change has led to the automation of diagnostics, creating a surplus of talent in the STEM fields in some cases, and where it has not done so, there are indicators that further technological advancement will likely push things in that direction. In a technological world there will always be the need for engineers and designers, but as the technology becomes more and more capable of assessing its own status and designing improvements, the number of humans who will need to take interventionist roles will decrease.

Luckily, there are already clear signs in the job marked that creative industries are ramping up to create new demand. Workers capable of harnessing communication technology to craft messaging for clients are going to be able to take full advantage of the new tech without worrying about having their career opportunities curtailed by it. As a result, graphic designers, writers, and other creative roles are seeing a boom in employment, and as communication technology becomes more ubiquitous, there is every reason to think the demand for content will continue to grow with it.

Help! I am a Writer and I’m Sick of Being Poor

by admin

If you want to be able to fund all of your creative endeavors without having to be chained to the responsibilities of a day job, there are ways to make sure your career takes off in a direction that allows you to write full time. The key is being committed to writing, not doing anything else for money. That means being willing to do the writing that is available to avoid having to do anything else, even if that means writing advertising copy for local small businesses because that is what is available. When you are committed and ready to do that, there are a few ways to break into writing for pay.

The first and most well-known route is to go to school for journalism or to find a place willing to hire based on your portfolio. That way, you will be able to make a good appeal for the job based on your merits. Journalism will also have the benefit of disciplining your writing, because you will learn several genres and methods for discerning the rules of new genres of writing fact-oriented nonfiction as you work.

Another route to take is to develop your skills as a technical writer. Technical writers often work for a single company in-house, but if you find an employer who understands the way writers operate most efficiently, you can probably talk about working from a remote location. That will allow you to make your own hours so you have the opportunity to attend study abroad programs and take advantage of other opportunities.

Last but not least, the world of online content is booming, and for those who are disciplined and willing to write in volume, there are careers to be made. The best part about online content is that the work is always available and the pay is per piece completed, so you can work as much or as little as needed, allowing you to fund your writing with your writing.

When you get that opportunity, it gets much easier to take the time you need to focus on your next creative project.

Finding Creative Writing Opportunities

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One of the toughest parts about being a career creative writer is finding the opportunities you need to be able to make money without having to work in other industries. Many fill in the gaps with writing in other industries, but the fact is that there are various paying opportunities for creative writers out there if you know where to look, and without having to invest the up-front money it will take to go into publishing for yourself.

The first place you should be checking is Craigslist. While it’s true that there are books out there full of places taking submissions, those established outlets also get inundated with manuscripts from writers looking to get their next break. Frankly, they can usually afford to go with writers who have worked their way up to that level of publication, and they don’t always pay better than the startup places you will find outside the literary mainstream.

If you want to be successful writing creative work for money, you also have to be willing to work in volume like other full-time writers do. That means putting in the hours it will take to make sure you meet your income goals, even if you have to write at volume to do it. That might also mean learning to write to a prompt and sending in work according to the genres that are currently popular. None of this prevents you from focusing most of your efforts on a novel that really covers what you most want to write about, but it does mean that you need to learn to depart from it to build up the name recognition that will bring you the opportunity to publish that longer piece.

Once you get a few paying gigs through Craigslist, start keeping a database of the outlets that pay promptly and in full, and resubmit there because the editors will be friendly. As you find more and more success online, remember to search out aggregator sites that pull from various Craigslists around the country, as well as other sources. It’s also worth getting yourself onto Twitter, because the literary fandom there is pretty big and you will be able to connect to various outlets and ‘zines that collect submission guidelines to find more opportunities.

Finding the Time for Creative Writing

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Time and again, creative writing students cite the difficulty inherent in carving out times for practice and development as one of the chief reasons for their frustration with their progress. It’s such a common problem for those working on developing their craft to a professional level that Writers’ Digest has multiple articles (1, 2) on the topic. No matter what the take on the subject, writers often get the same advice: make sure you set aside time, make sure you practice every day, make sure you read other writers whose work you admire, to understand what it is that you are reaching for. And, often, the advice comes with the added note that it takes a lot of textual exposure and practice before you begin to lock in to the style and structure that you need to propel yourself to the next level.

It’s just a pity things don’t always work that way.

The Myth of Practice Time

Most of the advice about making time to write is built around the comparison between writing and athletic or musical talents, and that is exactly why the advice is trouble. In a lot of ways, writing is like those other skill sets–it is technique based, it requires both muscle memory and active critical thinking in a real-time state, and the performance of it can be broken down and discussed in ways that help educate the practitioner so that they make better choices at other times. Where writing is different from those other skills is in the cost and the balance of life activities to practice effort.

By and large, musicians and athletes do not live in environments that require them to use their talents day in and day out in the service of goals other than the development of that talent. An athlete might also work a labor-oriented job that is physically taxing, but it tends not to work the exact same muscles and techniques that they need when they step into practice later, and if it does, it does not work them with the intensity of exercise. The same goes for musicians when it comes to developing their timing and dexterity.

Creative writers, on the other hand, live in a world where they are immersed in the use of their skills at every turn. From workplace communication to training and instruction to scheduling, email, social media, and keeping tabs on current events in the world, reading and writing are immersive cultural activities that can not be separated from life, and if a writer is to capture the essence of life, they can not be.

Realistically, this means that carving out a dedicated practice time can leave writers feeling frustrated and spent, because they may have the goal of reaching 350 words in a short session and calling it a day, just to get the practice, only to find themselves in a situation where their kids, work, family, and household management has put them in the position of writing 2000 or even 5000 words in a day, so that last 350 is just not there.

Making Practice in Real Time

The solution is skills transference. The secret to practicing your creative writing is finding the opportunity to practice it as an aspect of life, to make those tropes, descriptions, and structures into guideposts that not only help increase the effectiveness of communication in those other genres, but that also allow the writer to acknowledge and to nurture those skills as the opportunities for practice present themselves. By living in an ever-engaged state where literary practices more generally become specific opportunities to hone an audience-appropriate set of artistic traits, creative writers not only carve out room for craft development, they move themselves toward having a more robust creative stamina that is capable of engaging in a higher workload as it develops.